*You are not my brother, brother - Transitory masculinity in the art of Ivana Ivković (EIKON #107, I Did It For You - Q21, Vienna)
*Why is everyone being so nice? (Voždovačka galerija, Belgrade)
*1999 - The Oracle told me I'd fall in love with the One, Luka Cvetković, Milica Mijajlović, Tamara Spalajković, Rafal Zajko (Fotopub, Novo Mesto, Slovenia)
*Aftersun, Miriam J Carranza, Rosa Doornenbal, Eva Hoonhout, Vasilis Papageorgiou, Park Geun Woo (Voždovačka galerija, Belgrade)
*Fictional curating (Legat Franklin, Voždovačka galerija)
*You're a Giant (Voždovačka galerija, Belgrade)
*Functions and Fictions (Scenarios of the pool 0.5) (EASA Denmark, Fredericia)
*Underwater love, beyond the typology of swimming pools (Public school for architecture Brussels)
*Manicures and other privileges (Dating the Chorus, documenta 14 mediators' publication)
*We're all involved in this mess (Enclave projects, London)
*Photoshopism, ICA London Bulletin (Bloomberg New Contemporaries 2016)
1999 - The Oracle told me I'd fall in love with the One
Rafal Zajko, Milica Mijajlovic, Tamara Spalajkovic + Luka Cvetkovic
OŠ Grm, Novo Mesto, Slovenia
Ksenija Jovišević, Barbara Kapusta, Driton Selmani, Jelena Pantelić, Julija Zaharijević
Eugster || Belgrade, Belgrade, Serbia
From the exhibition text:
"Visual arts and fashion occasionally cross paths. Out of the two, fashion certainly has a healthier relationship with reality, being honest about what it is: it’s a commodity, it gives us what we want, therefore it tells us where we stand as a society. In the past few years, mostly thanks to Instagram and other online platforms, general awareness about trends in lifestyle and clothing increased. As information became almost annoyingly accessible, aesthetics did the same.
Balenciaga, for example, successfully created a hybrid of privilege and ordinariness in a single brand. Conveniently, their ad was on the back cover of the latest Mousse issue, with the camera slightly out of focus, in a mildly underwhelming setting; the models are indifferent, nothing looks exceptional, yet everything smells like high life. It’s unremarkable and it’s exciting at the same time. That’s the contemporary attire of luxury and that’s probably the state of the world as well.
To say that art is also a luxury is one way to put it, the other could be:
a free form of expression, derivative but independent from the so-called everyday life. Almost as if we refuse to say that art gets compromised, constantly, by the evaluation system, the academic elite, by the people who ‘don’t get it’, by the market and predefined assumptions.Unlike fashion, art gets explained but rarely excused and offers itself for interpretation, for classification, for a debate over its worth. Perhaps for this reason, we find ourselves in awe of wearable items and accessories, not as people, but as professionals. Clothes and bags are the ultimate commodities, aestheti-
cised but still purposeful, renewed every season, verging on vain.
As in any show, the title attends to the viewers’ expectations. In this case, the exhibition is prefaced by an adjective describing usual, customary, even uneventful things, which places the focus on the relationship between the observer and the object. By posing the question of an object’s value and relevance, we question our attitude towards it. Do we approve it, and what does that say about us? In order to be relevant, art needs to remain critical, but in order to be critical, it needs to understand the language of the world. And as Seth Price noted, even if in a book of fiction, it became “officially okay simply to like a painting”, and “enough to say, That painting is awesome, just as you’d say, That spaghetti is awesome” (Fuck Seth Price, 2015).
see and read more at
So much furniture and light in dis room
Kristina Nikolić and Voždovačka galerija
Dom omladine Beograda, Belgrade, Serbia
From the exhibition text:
We nurture material relationships between people and social relationships between things. We treat objects as if they were human. We want them. We fetishize them. We treat them as something of value. We expect them to make us happy.
Objects are witnesses to our experiences, which we use when we want to go back to the past, which make up our present and will probably be there in the future. They are used to adjust collective sentiment and behaviour - euphoria. We put objects on our bodies, so as to feel stronger and more self-confident. Objects have names, and even their names can invoke feelings in us. When placed together, attached one to another, objects build a certain network, intensifying the things that we have already lived through and bringing them back. They create a situation in which any interpretation is possible, because everyone has had a different experience with each of the objects from the network"
more photos and full exhibition text:
photo credits: Ivan Zupanc
You're A Giant
Julija Zaharijević, Mariah Scary, Nemanja Knežević, Saša Tkačenko, Tamara Spalajković
Voždovac Gallery VS Faculty for Traffic Engineering
Nemanja Knežević, Marija Bjelić, Natalija Paunić
Vozdovac Gallery (VZDVC) is a project based in Belgrade, Serbia, named after one of the most neglected areas of the city, Vozdovac. The platform operates in various spaces in Belgrade to pursue research in the context of contemporary art and exhibiting. It puts the place itself on display along with the art, questioning the limits to what is perceived as part of the showcase, and what is merely part of the venue. The aim of Vozdovac Gallery is to embrace the identity of the borough (Vozdovac), the spaces it entails, the identity of contemporary Serbian art as it develops and to explore the communication between Western art and culture and the local.
You're a Giant was titled after the punchline from a Netflix series The Sinner (2017 - ) in which Cora, the protagonist, suddenly kills a man on the beach. The motive of her crime is a mystery, as it is unknown both to her and the viewers. The title, hence, applies to a possibility for something big to happen, leaving all the reason and motives behind and looking toward a goal - the exhibition itself, happening at a point in space and time, some space, some time. In the context of the local art scene, making a decision is what finally abandons the feeling of being caught between history and present time, as well as the implicit yet never really defined obligation to be critical toward one's own nationality in art production and representation (Yugoslavia, the war, one's personal experience of living in a post-communist country).
Publication, ICA Student Forum
Collective Body contributors include Anne de Boer, Giulia Civardi, Ami Clarke, Marcel Darienzo, Elisabeth Del Prete, Ebony Francis, Weronika Garczyk, Johanna Hardt, Ashley Janke, Håkon Lillegraven, Mariana Lobão, Hugo Lucien, Giada Marson, Lorenzo Monnini, Felice Moramarco, Leila Nassereldein, Rachel-Rose O’Leary, Elisa Ohtake, Natalija Paunic, Josefine Reisch, Eurico Sá Fernandes, Kefiloe Siwisa, Markus Soukup, Madeleine Stack, Natasha Trotman, Cristina Vasilescu and Katie Yook.
Publication launch: ICA, London (“Is This The End?”)
Scenarios of the Pool - After Blue Interval
Former Pioneer Health Center, Peckham, London
Project developed in collaboration between Lea Collet, Marios Stamatis and Natalija Paunic.
From the exhibition text:
"[...] Once we enter the area of the pool, an unspoken social contract is activated: suddenly, it becomes OK that we are showing much more skin, and all conversations are patinated with a special colloquial tone. A fluctuating activity is framed into a rectangular shape, imitating a natural occurrence while being entirely artificial; with water as the main protagonist, a pool allows us to rest our eyes and bodies on its surface.
As the performance unfolds, the viewers are occasionally splashed by water. The sound of pool sides and filters is at times louder than the sound of words being spoken; the words themselves echo in the space, dissolving in water and disappearing in the lantern. The space is tall and almost sacramental, with the glass roof top and light coming from above.
With uncanny foam sculptures floating about the pool, communication becomes visual and gestural, rather than verbal. The interpretation of a former health center as a story about love is both subjective and responsive to the contemporary ideas and misconceptions about collective mental and physical health.
All who are involved in the event come together in a tacit democratic setting; the space itself is on display. [...]"
Scenarios of the Pool
Enclave Projects, Deptford, London
Project developed in collaboration with Lea Collet and
"The immersive feeling of a pool is created through an
invocation of memory - that caused by the smell of
chlorine and the sound of splashing water, the intense
blue color and the imaginary horizon being set above
our usual eye level. Within these premises, two displays
showcase the documentation of the performance,
bringing about a memory of a specific event into an
already dominating illusion of a pool. Glimpses of what
happened at the Pioneer Center merge with the personal
experiences of swimming and bathing, of leisure and
Nails am Bahnhof
Membrane (documenta14), Kassel, Germany
Nails am Bahnhof took place at Membrane (at Kulturbahnhof)
in July 2017 in Kassel, coinciding with documenta
14. / many thanks to membrane.network /
A nail salon is a place for leisure, relaxation and beauty.
It assumes a social and physical contact with a stranger,
where both parties agree to perform a standardized
You enter the salon, and you wonder:
In what ways are such performances different from art?
What makes the manicure done inside the exhibition
space different from the one done in a salon?
How much should the (nail) artist be paid for their work?
Is she paid? Does she speak my language?
You have walked all day across documenta Stadt, in
venues with little place to sit and a lot to take in. You are
happy to find a place where you can relax.
Dating the Chorus
Publication, aneducation + documenta Chorus
Launch: Peppermint, Kassel; Ledermeid, Kassel
Dating the Chorus is a collection of contributions by the members of the Chorus, made and published independently from documenta 14, but as part of the ongoing program.
Article: Маникир и сличне привилегије (Manicure and similar privileges)